Critical Studies Samuel Peploe
Critical StudiesSamuel Peploe
Tasks1. Read over the first slides to revise your art terminology.
2. Revise your knowledge of Samuel Peploe by watching the YouTube clip.
3. Learn about Samuel Peploe’s choice of media handling, scale, style and subject matter by reading through the next slides.
4. Answer question 1(a) and use the slides after to assist.
5. Answer question 1(b) and use the slides after to assist.
Expressive Art Vocabulary• Composition/ arrangement
• Subject matter/ imagery
• Visual elements
• Media handling and techniques
• Style
• Scale
• Mood and atmosphere
Expressive Art Vocabulary• Composition/ arrangement - arrangement; pose (in figure and portrait work); setting; viewpoint; focal
point; choice of subject matter; perspective; proportion; scale and use of space
• Subject matter/ imagery - choice of subject matter; sources of inspiration and influences; effect on the work
• Visual elements - line; tone; colour; shape; form; texture; pattern; how they have been combined/ applied; their effect on the work
• Media handling and techniques - choice of media and processes; application of media; effect on style; treatment of subject matter; level of detail; expressive qualities; skills demonstrated; 2D or 3D; scale of the work; influences on technique
• Style - aims and influence of specific art movements; what makes the work distinctive; sources of inspiration; the artists’ ‘trademarks’; artists’ response to the subject
• Scale - the dimensions of the work; large or small; effect of scale on the work; effect of scale on detail/ realism/ visual impact etc.
• Mood and atmosphere - the mood and atmosphere created and how this has been achieved (e.g. colour, use of media, subject matter, composition, style etc.); what the work communicates to you and why
Words about composition
Arrangement Viewpoint Focal point Subject Sitter (in portraiture)
Foreground Framed Centre of interest Object Subject matter
Middleground Cropped Point(s) of interest Distorted Frame within frame
Background Close-up Elevated viewpoint Fragmented In proportion
Horizontal Wide angle Camera angle Symmetrical Out of proportion
Vertical Circular Eye-level Asymmetrical Portrait orientation
Diagonal Triangular Bird’s eye view Balanced Landscape orientation
Linear Staged Low viewpoint Busy One-point perspective
Horizon line Set up Picture plane Cluttered Two-point perspective
Perspective Dynamic Negative space Crowded Flattered perspective
Leading line Small-scale Rule of thirds Minimalist Aerial perspective
S-curve Large-scale Depth of field Sparse Vanishing point
Words about mood and atmosphere
Tranquil Exciting Atmospheric Violent Sad
Peaceful Busy Overcast Disordered Pessimistic
Quiet Fun Gloomy Aggressive Melancholy
Serene Happy Sunlit Hostile Depressing
Calm Joyful Sun-drenched Moody Dismal
Informal Passionate Shadowy Intense Desolate
Relaxed Flamboyant Warm Threatening Lonely
Still Lively Cold Disturbing Sensitive
Undisturbed Optimistic Leaden Powerful Thought provoking
Controlled Emotional Dreary Inspiring Moving
Dispassionate Expressive Lack-lustre Poignant Breathtaking
The Visual Elements• Form
• Colour
• Shape
• Pattern
• Texture
• Line
• Tone
Form
When you add tone to a shape it creates form. That means that the shape becomes 3D. When you work with 3D materials, such as clay or papier mache you are creating 3D forms.
Shape
There are lots of different shapes. A shape happens when you join the two ends of a line up. The basic shapes we have are geometric squares, circles, etc.
Words about shape and formShape and form Shape Form
Regular Simple Circular Sphere Sculptural
Irregular Complex Rectangular Cube ArchitecturalGeometric Fragmented Oblong Cylinder Profile
Organic Jagged Square Pyramid ReliefMan-made Pointed Triangular Cone Moulded
Natural Distorted Oval Conical SculptedAngular Freeform Pentagon Helix Modelled
Rounded Bold Hexagon Spherical Carved
Symmetrical Distinct Octagon Cuboid Built
Asymmetrical Indistinct Outlined Triangular Constructed
Flat Spiral Positive Tactile Assembled
Repeating Twisted Negative Textural Tool marks
Elongated Large-scale Overlapping Massive Solid
Simplified Small-scale Silhouette Monumental Hard
Stylised Short Negative space Hollow
Spiky Tall Amorphous Light
Hard-edged Wide Nebulous Heavy
Soft Narrow Fluid Mass
Colour
There are hot and cold colours, primary and secondary. Colours can harmonise and contrast.
Words about colourPrimary Transparent Bright Monochromatic
Secondary Opaque Strong Neutral
Tertiary Hue Harsh Subtle
Complementary Pigment Vibrant Restrained
Opposite Tone Intense Limited palette
Contrasting Tint Saturated Restricted palette
Harmonious Balanced Bold Pale
Related Varied Deep Muted
Hot/ warm Deep Vivid Faded
Cold/ cool Fluorescent Rich Realistic
Symbolic Luminescent Expressive Naturalistic
Decorative Pearlescent Exaggerated Life-like
Advancing Iridescent Clashing Earthy
Receding Lurid Gaudy Delicate
Balanced Loud Garish Weak
Blended Brilliant Polychromatic Washed out
Reflected colour Kaleidoscopic Multi-coloured Pure
Pattern
Pattern can be created by line, colour and texture. Patterns can be seen on clothes, clay and paper. It can be simple and is usually a repeat of a colour or shape.
Words about pattern
Applied Random Dots Decorative
Repeating Varied Polka dot Ornate
Simple Regular Dashes Ornamental
Complex Linear Lines Embellished
Man-made Rectilinear Stripes Bold
Natural Curvilinear Chequered Subtle
Geometric Rhythmic Tartan Clashing
Organic Symmetrical Plaid Kinetic
Mechanical Asymmetrical Floral Optical
Motifs Symbols Speckled Digital
Squiggles Mirror image Marbled Abstract
Large-scale Multi-directional Cross-hatched Psychedelic
Small-scale Half-drop Stippled Tessellated
Texture
Texture is how something feels. For example rough or smooth, soft or jagged. You can create texture using thick paint, clay and collages and by scratching and piercing paper, tearing and cutting materials. Everyday objects can have a texture. For example a concrete wall or a tree trunk.
Words about texture
Tactile Furry Even Brushstroke
Touch Scaly Uneven Impasto
Textural Silky Grainy Bas relief
Soft Hairy Indented Low relief
Hard Rippled Pitted Linear
Rough Wrinkled Dusty Swirling
Smooth Crinkled Waxy Dashed
Coarse Ribbed Greasy Directional
Fine Grooved Velvety Random
Flat Spiky Fleecy Bumpy
Shiny Scratched Woolly Woven
Glossy Abrasive Matt
LineYou will use lots of different kinds of lines when you are drawing and painting. You can use lots of different mark-making tools to create those lines, such as pencil, pen, paintbrush, charcoal stick, pastel, etc. The lines will be very different when using the different materials. The lines can be broken, thin, thick, fluid and jagged lines. These kinds of lines can be used to express different ideas, moods and atmosphere. For example a sharp, pointed, jagged line can express a feeling of anger perhaps.
Words about line
Thick Angular Outline Flowing Zigzag Continuous
Thin Rectilinear Horizontal Graceful Jagged Broken
Broad Rough Vertical Elegant Twisting Ragged
Straight Textural Diagonal Precise Cross-hatched Scratchy
Curved Expressive Wavy Accurate Stripe Inconsistent
Long Bold Curvilinear Sensitive Neat Freehand
Short Confident Fluid Delicate Sketchy Gestural
Hard Hesitant Smooth Controlled Faint Spontaneous
Light Fine Squiggly Definite Subtle
Tone
Tone happens when light falls on an object. It can be a range of lightness to darkness or lightness of any colour. It is light and shadow. Tone can also create mood and atmosphere.
Words about tone
Light Highlight Limited tonal range Dramatic Hard light Drab
Dark Half-tone Wide tonal range Contrasting Diffused light Faded
Soft Mid-tone Tonal value Exaggerated High key Sombre
Subtle Monotone Tonal scale Hard Low key Gloomy
Muted Graduated Light source Glowing Reflected light Murky
Gradation Graded Direction of light Luminous Reflection Dim
Blended Shaded Shadow Illuminated Bright Flat
The Scottish Colourists
• The Scottish Colourists were a group of painters from Scotland whose post-impressionist work was not very highly regarded when it was first exhibited in the 1920s and 1930s due to its highly developed use of colour.
• It aimed to challenge the classical use of tone and texture in landscape painting.
Who were they?The term ‘Scottish Colourists’ refers to four painters:
• S. J. Peploe (1871—1935)
• J. D. Fergusson (1874—1961)
• G. L. Hunter (1877—1931) and
• F. C. B. Cadell (1871—1935)
Similarities• Each was born in Scotland in the latter part of the
nineteenth century.
• Each was attracted to France early in their careers.
• Although the four were friends, they did not make up a formal group and the group name by which they are now known derives instead from their shared preference for vivid colour and a fluid handling of paint.
Samuel John Peploe
‘Still Life’ (1913) Oil on canvas
‘Still Life with Bottle’ (1912) Oil on canvas
‘Tulips and Fruit’ (1919) Oil on canvas
‘Still Life, Black Bottle’ (1916)
Oil on canvas
Peploe Biography
• https://www.youtube.com/watch?v=2xK5cddoJsQ
Media Handling/ Technique• Peploe painted in brilliant colour, developing a style
containing some new painting techniques, such as use of tonal ranges, brilliant colour, dry-brush technique, trying to give objects a simple 3D form in his paintings, etc.
• Brushstrokes are bold and vigorous influenced by the Fauves.
• His strong use of angular lines not only emphasises shape but adds structure to the paintings – Cubist influence.
• Often cool colours used, with darker blue outlines around objects, and brighter warm colours for objects.
ScaleDescribes the size, location or amount of one element to another (or to the whole) in a work. It has a great deal to do with the overall harmony of an individual piece.
• Bottle coming off the top of the painting. • Cup looks very small in
proportion to apple. • Vase is large and dominates
piece.
Style• Tight composition, strong colour and assured handling
• Outlines around objects
• Confident
• Defined the quality of light
• Painted in brilliant colour, developing a style containing some new painting techniques, such as use of tonal ranges, brilliant colour, dry-brush technique, trying to give objects a simple 3D form in his paintings, etc.
Subject Matter/ ImageryA still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, dead animals, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewellery, coins, pipes, etc.).
• Peploe is best known for his still lives of tulips, fruits, vases and household objects.
• He concentrated on a few simple objects - Chinese vases, a black fan, a book, fruit, fabric and flowers – and in particular, tulips or roses.
Visual ImpactVisual impact is the first thing we see in a painting.
• Composition/arrangement
• Media handling and/ or techniques
• Visual elements
• Scale
• Style
• Subject matter/ imagery
• Mood and atmosphere
Task - Question 1(a)1. Select one of Samuel Peploe’s still life paintings from the next slide.
With reference to this artwork comment on:
• colour
• media handling and techniques
• mood and atmosphere
Why do you find this artwork appealing? Give two justified reasons.
10 marks
Samuel John Peploe
• Look over the next slides for information on how to answer the question.
‘Still Life’ (1913) Oil on canvas
‘Still Life with Bottle’ (1912) Oil on canvas
‘Tulips and Fruit’ (1919) Oil on canvas
‘Still Life, Black Bottle’ (1916)
Oil on canvas
Exam Technique• Read the question
• Underline the keywords
• Use the keywords as headings to structure your answer
• Each paragraph should analyse a different keyword from the question
• Always refer specifically to the paintings
• Your first sentence should be an introduction explaining which artist and artwork you are going to discuss
Keywords• Composition/ arrangement - arrangement; pose (in figure and portrait work); setting; viewpoint; focal
point; choice of subject matter; perspective; proportion; scale and use of space
• Subject matter/ imagery - choice of subject matter; sources of inspiration and influences; effect on the work
• Visual elements - line; tone; colour; shape; form; texture; pattern; how they have been combined/ applied; their effect on the work
• Media handling and techniques - choice of media and processes; application of media; effect on style; treatment of subject matter; level of detail; expressive qualities; skills demonstrated; 2D or 3D; scale of the work; influences on technique
• Style - aims and influence of specific art movements; what makes the work distinctive; sources of inspiration; the artists’ ‘trademarks’; artists’ response to the subject
• Scale - the dimensions of the work; large or small; effect of scale on the work; effect of scale on detail/ realism/ visual impact etc.
• Mood and atmosphere - the mood and atmosphere created and how this has been achieved (e.g. colour, use of media, subject matter, composition, style etc.); what the work communicates to you and why
Keywords• Composition/ arrangement - arrangement; pose (in figure and portrait work); setting; viewpoint; focal
point; choice of subject matter; perspective; proportion; scale and use of space
• Subject matter/ imagery - choice of subject matter; sources of inspiration and influences; effect on the work
• Visual elements - line; tone; colour; shape; form; texture; pattern; how they have been combined/ applied; their effect on the work
• Media handling and techniques - choice of media and processes; application of media; effect on style; treatment of subject matter; level of detail; expressive qualities; skills demonstrated; 2D or 3D; scale of the work; influences on technique
• Style - aims and influence of specific art movements; what makes the work distinctive; sources of inspiration; the artists’ ‘trademarks’; artists’ response to the subject
• Scale - the dimensions of the work; large or small; effect of scale on the work; effect of scale on detail/ realism/ visual impact etc.
• Mood and atmosphere - the mood and atmosphere created and how this has been achieved (e.g. colour, use of media, subject matter, composition, style etc.); what the work communicates to you and why
Fact, Justify, OpinionAlways answer critical studies questions with this technique. Give a fact, then a justification and then an opinion. This will ensure your receive full marks.
Fact
The artist uses earthy warm colours for the fruit contrasting with blues in the background.
Justify
I think that they have done this in order to make the fruit stand out and make it the most important object.
Opinion
I like the way they have used colour as it draws my eye towards the main subject matter of the painting.
Task - Question 1(b)
1. Samuel Peploe is your chosen artist.
Explain the impact of social, cultural and/or other influences on any of their work and practice.
5 marks
InfluencesPeploe
Living in France changed his use of colour, which became brighter and more vivid. He saw the work of the French Fauve artists (Fauve = the Wild Beasts). He was very impressed by the colourful, daring
paintings by Henri Matisse, the leader of the Fauves. Influenced by the work of Matisse, Peploe began to use simpler shapes, brighter colours, definite light, dark and middle tones, and bold outlines around
shapes in his paintings.
He undertook painting trips to northern France and the Hebrides with his friend J.D. Fergusson, another of the Scottish Colourists. Inspired by the bright sunlight, he experimented with the bold use of colour, and the influence of the rustic realism of French painters is evident in his landscapes. His still life works
show the influence of Manet, with combinations of fluid brushwork, thick impasto and dark backgrounds with strong lighting.
From Manet he learned to paint instinctively and spontaneously; from Sisley he realised the pleasure of painting en plein air; from Friesz he learned to apply colour expressively without abandoning the
internal ‘rhythm’ of his compositions; and from Cézanne he discovered a more subtle analysis of form and colour.
In Paris Peploe was able to immerse himself in the intellectual environment, absorbing the latest modernist debates. From the outset, Peploe’s art was defined as ‘Franco-Scottish’ and he succeeded in
his ability to assimilate French art while retaining his Scottish identity.
Peploe was the eldest of the Scottish Colourists, and the most commercially and critically successful of the four men. This gave him the time and money to produce his paintings.
Influences• Social/ cultural influences
• How has their work developed/ changed?
“He saw the work of the French Fauve artists (Fauve = the Wild Beasts). He was very impressed by the colourful, daring paintings by Henri Matisse, the leader of the Fauves. Influenced by the work of Matisse, Peploe began to use simpler shapes, brighter colours, definite light, dark and middle tones, and bold outlines around shapes in his paintings.”
Influences• Social/ cultural influences
• How has their work developed/ changed?
“He saw the work of the French Fauve artists (Fauve = the Wild Beasts). He was very impressed by the colourful, daring paintings by Henri Matisse, the leader of the Fauves. Influenced by the work of Matisse, Peploe began to use simpler shapes, brighter colours, definite light, dark and middle tones, and bold outlines around shapes in his paintings.”
• This answer would get you 1 mark. It includes a fact and a justification.